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Cast: Henryk Baranowski, Wojciech Klata, Maja Komorowska, Artur Barcis, Maria Gladkowska, Ewa Kania At the end of A Short Film About Love, the image deepens in hope when Tomek materializes within a shared dream. It is as if the long lens has been a probe taking a geological sample whose unseen layers one inspects. Deepening space may deepen awareness to the point of turning spectators into that other spectator, the young man. The transformation may follow from a fusion of the material and the metaphysical of the kind exemplified by the end of Dekalog: One. The image of the Madonna confronting the newly bereaved Krzysztof may be a close-up of a face, but it is simultaneously distanced from him by its frozen quality, its status as art, and its reminder of Paweł’s unseen mother, in another country—not to mention Krzysztof’s look downward and away from it. That interpenetration of the immediate and the beyond ramifies into the recurrence of animals in this film, and Paweł’s empathy with them: his fascination by pigeons at his window, his grief over the dead dog with the yellow eyes, his interest in a schoolmate’s hamster. Some reflections by C. S. Lewis are surely relevant: “How strange that God brings us into such intimate relations with creatures of whose real purpose and destiny we remain forever ignorant. We know to some degree what angels and men are for. But what is a flea for, or a wild dog?” It is as if Paweł’s intense closeness to the animal world—to that dead wild dog, and the fleas that doubtless burrowed through its fur—brings him closer to another world, into which he then falls so easily. And yet, for a biblically-scaled film cycle so rich with irony that it seems to be chipping off the walls of the brutalist apartment complex where most of it takes place, perhaps the greatest irony of them all is that “Dekalog” is ultimately defined by its humility. Although the current round pens carry a similar refill and write just as well, I’m still a little sentimental for the hexagonal pens. I alternated between fountain pens and these MUJI pens for most of the mathematics I wrote at university: their narrower line width was useful for drawing out intricate symbols next to prose. Thomas Piketty’s work on income inequality is much cited and discussed; he is considered one of the most influential living economists. I’ve seen his name crop up a lot recently, especially in articles about the economy after coronavirus. However, there’s just one problem: journalists can’t seem to resist mentioning that he’s the “ French economist Thomas Piketty”.
Behind the Camera: Poland's Best Cinematographers". Facets. Archived from the original on 25 July 2010 . Retrieved 6 June 2017. a b "The Critics on The Decalogue". Facets. Archived from the original on 24 July 2010 . Retrieved 13 May 2020.Most of my peers’ projects tended to be more theoretical, so I was glad I had the chance to marry a little bit of theory and practice (mostly thanks to Alex Rogers, my supervisor). I maintained the apps for a couple of years, adding new features, and promoting them on social media. I gradually lost interest in the “business” side even whilst the apps were still very popular, and focussed on my studies instead. By the time I started university I’d also lost interest in the UI and technical problems of the apps: I’ve probably spent more time worrying about the line spacing of Keep Calm and Carry On posters than anyone else in the world.
Maja Komorowska - Irena: Krzysztof's sister, she deeply believes in God and does not understand her brother much but they respect each other and have in common their love for little Paweł. As we all face another stressful, draining year in a global pandemic, I think it’s high time we abandon over-ambitious resolutions: let’s find small, easy nudges that may actually improve our lives. Alternatively, we may have the goal of saving more money. Many banking apps now offer a feature that will “round up” transactions to the nearest pound or dollar, placing the remainder in a savings account. The initial set-up effort takes seconds, and the probability of success given implementation is certain. You’ll save a modest amount of money, but it’s certainly better than nothing.
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I’m a little melancholic to close this chapter of my life. I am, however, incredibly grateful for the experience and to the people who supported me along the way. A construction worker holding a measuring pole and then as a different construction worker carrying a ladder Dekalog: One" revolves around the story of a university professor and his young son living a life tethered to the certainties of science and mathematics. The professor believes in the power of logic and computation, considering them the guiding lights of existence. But the universe has its script, and the realms of certainty and belief collide, unraveling a tragic tapestry that explores the paradoxes of faith, loss, and the pursuit of truth. The Main Characters The intersection of GPUs and compilers is small, but happily for the last couple of years I’ve worked on the compiler for Metal’s shading language and the driver for Apple Silicon GPUs. A strange series of accidents lead me here, but I can draw a line from that Year 10 form room to my career today. In the 2012 polls Dekalog received six votes from critics including Kenneth Turan and one vote from director Milcho Manchevski as the Greatest Film of All Time. [22]
Krzysztof Kieślowski's Acclaimed Films". They Shoot Pictures, Don't They?. Archived from the original on 11 April 2020 . Retrieved 30 December 2016. Although I graduated two years ago, I’d previously never made my bachelor’s or master’s theses public, although the code has always been available. I’ve not touched either project since, but the theses both provide missing context. The ten films are titled simply by number, e.g. Dekalog: One. According to film critic Roger Ebert's introduction to the DVD set, Kieślowski said that the films did not correspond exactly to the commandments, and never used their names himself. [11] Though each film is independent, most of them share the same setting in Warsaw, and some of the characters are acquainted with each other. Each short film explores characters facing one or several moral or ethical dilemmas as they live in a large housing project in 1980s Poland. [3] The themes can be interpreted in many different ways; however, each film has its own literality: [12] Commandment (Roman Catholic Enumeration) The series’ erasure of such contemporary Polish realia as politics, breadlines, and ration cards resulted in criticism on its domestic broadcast as being removed from life, though that partial removal was recognized elsewhere as a form of universalization, giving Kieślowski’s work new accessibility and breadth of applicability. But although quite a few Poles, or at least Polish critics, may have viewed it as not really documenting anything, Dekalog in fact extends his earlier documentary project in multiple ways, as description feeds into speculation. This goes beyond the retention of typical documentary modes of shooting and framing, such as the following of characters pointed out by filmmaker and academic Charles Eidsvik. More important is Kieślowski’s desire to register the nontransparent, the reality that his film school thesis, on documentary, had described as having its own dramaturgy.This magical-realist film of eight vignettes is a feast for the eyes. Inspired by the director’s own nighttime visions, along with stories from Japanese folklore, it's a visually sumptuous journey through Akira’s imagination. A young boy stumbles on a fox wedding in a forest; a soldier confronts the ghosts of the war dead; a power plant meltdown smothers a seaside landscape in radioactive fumes. The way A Short Film About Love moves from realism to metaphysics may be emblematic of the shape of Kieślowski’s career. Graduating from Poland’s famous Łódź film school amid the turmoil of the late 1960s—which saw student protests and a government anti-Semitic campaign, then working-class protests over rising prices that culminated in the unseating of Party First Secretary Władysław Gomułka—Kieślowski, throughout the subsequent decade, would often define his project as one of describing the world. Along with various other artists associated with the seventies Young Culture movement, he argued that Polish reality required description before it could be changed. Observational (“fly-on-the-wall”) and interactive (“talking-head”) documentary filmmaking, which had come to the fore in the sixties, were particularly well suited to this task, and Kieślowski’s documentaries would all fall into one or the other of these categories; indeed, he would even, in 1980, call one of his most haunting films Talking Heads (he liked self-deprecating but accurate titles: cf. A Short Film About Killing). His later move away from documentary is often attributed to his growing fear of harming his subjects through their candid self-revelations, some of which he provoked. Unsurprisingly, therefore, he would resist television transmission of the documentary From a Night Porter’s Point of View (1977),whose interviewed subject voices his support for public hangings. Kieślowski’s quarrel, continued by fictional means in Dekalog: Five, was less with the protagonist than with the punitive worldview the porter exemplified. But if the move toward fiction seemed to end the project of description, an overlooked statement in Kieślowski on Kieślowski casts it rather as that project’s logical next step: “Only when you describe something can you start speculating about it.” This is most obviously the case in Blind Chance (1981), made as his move to fiction was consummated, though shelved at the time by the authorities, where one contemporary character’s experience of three contrasting political and apolitical lives prompts the question (critics posed it again and again) whether any is the “true” one. Fiction is the speculation that follows from description, its question being, What is it that lies within?
The legacy of Eastern European cinema is vividly brought to life here, with films that resonate with universal themes and emotions, transcending geographical and linguistic boundaries. We are committed to presenting films that not only entertain but also educate and inspire our audience. I start the day early. The streets in St John’s Wood are empty — it’s a bank holiday in the UK — and Regent’s Park is too. Here I notice the first problem of the day. Although the sky is grey and unthreatening, the wind is my concern. It’s stripping the trees of their blossom. Pollen is soon in my face and catching on my clothes. I took an antihistamine before I set off; I hope it’ll be enough to see me through.
Watch online Dekalog: One with Arabic, English, Portuguese and Russian subtitles
As much as our intentions may be good, New Year’s resolutions mostly fail through poor goal setting: all of the above are much to vague for a start. Plenty has already been written in favour of using SMART goals but I think we should approach resolutions differently. In some episodes the connection is obvious: I doubt anyone would miss “thou shalt not commit adultery” in Dekalog: Six or “thou shalt not cover thy neighbour’s wife” from Dekalog: Nine. Artur Barciś appears as a silent, angelic character in most of the episodes, offering glaring warnings to characters as they are on the precipice of breaking a commandment.
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